Inks, papers, calligraphic styles
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| outlined *all* the common ones). A current volume that is in print is by Bischoff, Cambridge press (took 2 months to get, but was only $25), titled Latin Paleography. Good searchings unto you. Thomas Brownwell, calligrapher, herald, dancer,... dmb at waynesworld.ucsd.edu From: salley at niktow.canisius.edu (David Salley) Newsgroups: rec.org.sca Subject: Re: Tips Wanted Date: 19 Nov 93 13:29:09 GMT Organization: Canisius College, Buffalo NY. 14208 Caitrin Gordon, Barony of Delftwood, Principality of Aethelmearc aka (Barbara C. French) writes: > 2. Arts > Calligraphy and illumination: > For repeating borders, such as knotwork, you can save time and increase > precision by drawing one section of the border and using a light table > or a window to trace subsequent sections of the border (this isn't > cheating -- you drew it once!). Rhydderich Hael Calligraphers' Guild version: Draw your knot, Celtic beast, whathaveyou, once. Cover with tracing paper and trace. Place the tracing paper onto a scrap piece of plain white paper WITH THE PENCIL DRAWN SIDE DOWN. Go over the outline of the mirror image figure with a pencil. Place the tracing paper back on the scroll original side up. Position your tracing where you want it. Go over the outline again with a pencil. The pressure of the pencil on top will push enough graphite from the bottom of the tracing paper onto the scroll to form a light pencil drawing of the original figure. You don't need an expensive light table, you don't need to draw vertically against a window, and best of all, by turning the tracing back over, you can get mirror images as well as exact copies. Have fun! - Dagonell SCA Persona : Lord Dagonell Collingwood of Emerald Lake, CSC, CK, CTr Habitat : East Kingdom, AEthelmearc Principality, Rhydderich Hael Barony Internet : salley at niktow.cs.canisius.edu USnail-net : David P. Salley, 136 Shepard Street, Buffalo, New York 14212-2029 Newsgroups: rec.org.sca From: bcfrench at mothra.syr.edu (Barbara C. French) Subject: Re: Illumination Organization: Syracuse University, Syracuse, NY Date: Sat, 4 Dec 93 19:59:40 EST WISH at uriacc.uri.EDU (Peter Rose) writes: >I'm playing at doing some illumunation, using a metal quill-type pen, >and using regular artists oil paint thinned with turpentine as pigment, >and I'm having trouble getting consistant coverage. Sometimes I get >Thin runny color, and sometimes I get dark sludge, that won't feed >off the pen. Am I using completely the wrong materials, or am I just >not mixing the turpentine in aggressively enough. *SHOULD* this work? Switch to tube watercolors or goache. Oil paints are a poor choice for working on paper. Oils are meant for canvas, not paper. Plus, you will get "haloing" around oil pigments. Watercolors and goache are more "period". The real scribes used various types of temperas. I'm not sure what you're saying . . . Are you using the pens to do the illumination? Most scribes paint the illumination using brushes, and do the calligraphy with pens. There are good water-based inks to use in quill pens (personally, I use a Rotring fountain pen . . . I prefer a fountain pen because there are fewer factors I need to control). Likewise, oil-based inks are not a good choice for paper because the ink will halo. This means that you will get a shiny, rainbow-colored oil slick around your work, kind of like what happens when you spill ink on a puddle of water. What I have used for the past seven years for calligraphy and illumination: Rotring fountain pen, size 1.9, with Rotring ink cartridges Tube watercolors and gouache, usually Grumbacher and Windsor-Newton Fine black disposable graphics pens for outlining You will probably found a great deal more success with more appropriate materials. ...Cait Caitrin Gordon, Delftwood, Aethelmearc Newsgroups: rec.org.sca From: kharding at lamar.ColoState.EDU (Karol Harding) Subject: Re: Illumination Date: Mon, 06 Dec 1993 17:23:31 GMT Organization: Colorado State University, Fort Collins, CO 80523 PERIOD ILLUMINATION: Actually, what we usually do (which Pendragon recommends) is to put a bit of gum arabic with watercolors and put it on your dip pen. works great. Mix to the consistency of thin cream, thick enough to work and thin enough to flow. The other advantage is that this technique enables you to have red colors that are reasonably colorfast, and don't "feather" like a lot of red inks. We have begun teaching new scribes and are forbidding them to use cartridge pens for this reason; the flexibility of what you can use for "ink" as well as the joy of pressure point calligraphy. Newsgroups: rec.org.sca From: bcfrench at mothra.syr.edu (Barbara C. French) Subject: Re: Illumination Organization: Syracuse University, Syracuse, NY Date: Tue, 7 Dec 93 10:08:14 EST In article > >The other advantage is that this technique enables you to have >red colors that are reasonably colorfast, and don't "feather" >like a lot of red inks. It depends on the ink, but I agree: many red inks either feather or look kind of pinky. I don't use red ink much (I just paint the reds I need). One of the problems with red paint is that it can get pretty streaky. If you mix just a touch of white paint in it (just enough to cover the tip of a small brush) you can almost completely eliminate streaking. You don't have to use enough white to change the color. >We have begun teaching new scribes and are forbidding them to >use cartridge pens for this reason; the flexibility of what you >can use for "ink" as well as the joy of pressure point calligraphy. Here's where I disagree. I have used a cartridge pen for years for calligraphy. I strongly believe there is more than one way to do illumination, and scribes ought to be given the flexibility to discover what works best for them. Personally, I cannot use dip pens; I am a scribe with arthritic hands (arthritic thumb -- a curse for someone who's only 26!) and get horrid cramps from the position of holding a pen. I do not have so much problem with a brush. The cartridge pen allows me to work faster, get more calligraphy done and eliminates a lot of problems (such as ink vomiting all over your page). I use a very high-quality cartridge pen, a Rotring Art Pen (used by a large portion of scribes I know, including several Laurels). I think it's good to expose new scribes to a way you think is good, but as to "forbidding" them to use a different style of working -- I am not sure what I think of that. I also think it's good to show scribes different ways of working. What works best for you is not necessarily what works best for everyone. ...Cait Caitrin Gordon, Delftwood, Aethelmearc From: jab2 at stl.stc.co.uk (Jennifer Ann Bray) Newsgroups: rec.org.sca Subject: Period Black Ink/Dye Date: 8 Mar 94 15:43:41 Organization: STC Technology Ltd., London Road, Harlow, UK. Mistress Gwennis passed me a recipe for black ink which I tried out last weekend at a craft session. It worked so well I thought someone else out there might like to try it. She got the recipe from a Dover translation of a medieval text by Cenini (sp?) We took a cup of oak galls and a cup of water, then added a teaspoon of iron salts (ferrous sulphate). To make writing ink add a few spoonfulls of gum arabic (I'm told that arrowroot would work aswell, but we didn't try that). The ink looks light grey when it goes on, but as it oxidises it slowly turns to black. It's quite fun watching the ink develop before your eyes, it's quite different from modern inks which just sit there staying the same colour. If you leave out the gum arabic/arrowroot you have a dye. Heat silk in it and you get a dense bluish black. On wool it gives a very very dark brown colour, it looks black beside a black T shirt, but had a definite brownish tinge when held next to ythe dyed silk. The oak galls are a concentrated source of tannin. If you can't get oak galls we produced a similar effect by boiling three teabags in a cup of water for about quarter of an hour. It wasn't quite as good an ink as the stuff from the oak galls, but it improved overnight and gave a reasonable black. The oak gall ink also improved overnight even though we had strained out the oak galls by passing it through a coarse cloth. I suppose there was still fine sediment in the pot that was causing the tannin concentration to go up? After leaving overnight the ink went onto paper as a dark grey colour, and turned as black as india ink within minutes. I would like to try the same again with a different source of Iron since a bottle of Iron sulphate crytals doesn't look very period. Iron filings or rust might work as a source of Iron to blacken the ink, as vegetable tanned leather turns black when exposed to iron rivets and fittings. I suspect the iron is reacting with the tannin in the leather to produce the same black compound. The oak gall ink dyes wood black, so I'm planning on using it to paint in the details on my Viking tent, as the original from the Gokstad ship had painted details on it. We used quill pens to write with the ink, and sometimes found the ink went on a little grey as it ran out. This meant that we had to dip slightly more often than when using india ink, but it was worth it for the fun of watching the letters change colour as we wrote. Jennifer/Rannveik Vanaheim Vikings From: katieroz at aol.com (KatieRoz) Newsgroups: rec.org.sca Subject: German scroll Date: 24 Jun 1994 13:12:05 -0400 In response to a previous message on producing a late period German scroll......In my personal collection, I have a manual on 15th century German illumination. This book details various pigments, designs and executions. The title is "The Gottingen Model Book- a facsimile edition and translation of a 15th century Illuminators' manual". The ISBN number is 0-8262-0261-6 and the Library of Congress card catalog number is 78-62289. This is the latest period book that I could find and if you have any problem getting a copy, please let me know and we can try and work something out. It is a very informative book and well worth having. From: gray at ibis.cs.umass.edu (Lyle Gray) Newsgroups: rec.org.sca Subject: Re: Guache and fixative? Date: 30 Aug 1994 14:47:22 GMT Organization: Dept. of Computer Science, Univ. of Mass., Amherst, MA SandraDodd (sandradodd at aol.com) wrote: : To all illuminators from Mistress AElflaed of Duckford (a musician) : I'm posting this for my apprentice, Dwynwen. Any suggestions would be : welcome! If you could post them here for the benefit of the general : readership, or e-mail to TLBougher at aol.com I would be grateful. : >In the Middle Kingdom Scribes' Handbook and in the Complete Anachronist : >book on C&I, a recommended paint to use is gouache. My question is, is : >there something to be done to the work after it's done? Since gouache : >becomes very reworkable when it gets wet, what kind of preventative : >measure can be taken to assure that sweaty palms, mist or rain do not : >spoil a scroll? Most of the things I've read say to stay away from the : >waterproof inks and paints. My lady and I use a spray fixitive with the brand name Krylon on scrolls where we have used gouache (which is all of them...). This will help reduce smudging from sweaty palms. However, I don't recommend that the scroll be exposed to rain, regardless -- we provide scroll folders whenever we can. Lyle FitzWilliam ------------------------------------------------------ NON ANIMAM CONTINE Lyle H. Gray Internet (personal): gray at cs.umass.edu Quodata Corporation Phone: (203) 728-6777, FAX: (203) 247-0249 From: Elaine_Crittenden at dxpressway.com (Elaine Crittenden) Newsgroups: rec.org.sca Subject: Re: Leather & Ink? Date: 13 Mar 1997 23:41:19 GMT Organization: Digital Xpressway - Dallas, TX Given your short time span and your experience to calligraph the poem for your deadline, I would go with paper, too. Deer hides are too thick for good caliber late period pieces, anyway, and the thinner vellums need stretching to avoid buckling. The thinnest is "uterine vellum," made from the skin of unborn calves. In buying vellum offcuts, you can wind up with some really thick pieces for practice or "parchment size" (glue) manufacture. you will also have to specify what kind of "finish" you want and state the purpose, since you wouldn't want to buy a bookbinder's thickness for a scribe's needs. I have some sheets of paper(used for printing press work) dating from the mid-fifteen hundreds in England. It is not very slick, nor very white. It is fairly thin, but is opaque. Most of what I have is not laid paper, but more of a "wove" type. The doodling in the margins is done in a watery, transparent brownish ink--done sometime between 1569 and the present--your guess is as good as mine. Quills (from the 1st five feathers--the primaries) on a wingtip(right wings for "leftie" scribes and vice versa) are a bitch to "dutch" if they have not naturally aged. I would suggest you read the Donald Jackson chapter in The Calligrapher's Handbook. It is excellent and precise, although I was taught by George Yanagita. |
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